New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-02-27
MUSIC.
sTHE 1ROJANS IN CARTHAGE

Those who braved the weather aud attended the
fourth the at Chickering Hall last
night. given under the direction OF Mr.. Van Ter
Stuckcn made the acquaintance of n musical work OF
unique interest and beauty. We have already
said something about the history OF BerlIozs Troans
IN Carthage" and outlined its material, and do not
need TO to these features except to give express
the surprise excited bv the performance that
work OF such artistic magnitude should have 50 long
lain unnoticcd. pcrusal OF the piano forte score
bad convinced that " The Trojans in Carthage"
contained music OF rare excellence but hearing of
the work under the advantageous circumstances pres
cnt at last nights performance has strengthened
this yicOu that do not hesitate to say that
III this il taken into consideration all estimates
OF the merits of BerOz a composer are incomplete
In he Irojans' are To be found musical numbers
which dwarf the best features of the compositions
which BcrlIoz's popularity rests in this country
Three of them specify a once lest it be supposed
that intend 10 keep under the OF generaltes
they the finale OF the first part accord
ing to the arrangement OF the work dramatic
tata which utilized last night, the descriptive
symphony in which Berlioz has dclincated with mar
veIlous sigos and picturesqueness in
African forest. with the pastincs OF its taEcitul dem
liens, maids, dryads and sylyaus disturbed by the
noise of the hunt and thunderstorm and the chant
OF the pxosts Pluto they march around Didos"
funeral pile In all the music OF BerliOz with which
are acquainted We know OF nothing to compare in
dignity dramatic power and real expressiveness with
these pieces and they cOnsOrted with much else
that is beautiful in the score.
II is indeed u glowing score. crowded with novel and
fascinating effects in Instrumentation. and iull OF
original rhy thmlcal devices which mpart astOnsh
ing energy music IN the dramatic scenes. There
times however, when the meodic substratum
seems commonplace and the dramatic interest is ire
Quently permitted to flag. One notices too that the
feeling not profound and IS in continual danger OF
dropping into mere sentimentalty, in two duets
between DIDO and her sister " Anna" and Dido"
and Encas' bur these detects have been reduced
minimum in the arrangen ent OF the tor
performance, and they are more than outweighed
by the LOFTY excellence OF the other portions.
In his treatment OF the story of -" DIDO and
.Eneas," which Is the subject OF the work Berloz
who wrote the words as well as the music has clunp
with admirable fidelity TO Virgil. Nearly all the
episodes which he introduces have their justification in
lines that might be quoted from the second and fourth
books OF the EncId. Constructively the opera is
faulty and do believe that ITS failure when given
at the Paris Theatre Lyrique in 1853 was wholly
due to the faulty stage decoration and mana cement,
and the mutilatlon of score Berioz would tain
have us believe But it is impossible to withhold adj
mratou from some OF his Inventions The device by
which he keeps " Hncas " ever confronted with the
mission laid upon him after the tall Troy is thor
oughly admirable Throughout the opera, under all
circumstances. he hears mysterious voices which adj
monish him with cries of Italy !" This device is most
effectively used III the descriptive symphony when the
dryads and sylvans, after entering on the scene in
"A mad rout uttcring strange nartculate cries mere
open vowel sounds ali oh ahoh y shrek the word OF
admoniton i'll manner which produces dramatic
eject of tremendous Nividness and potency. This
whole number stands forth unique among Berlioz's
creations Inc melody of the hunting chorus is not
only striking in itself, but handled with bodness
and ingenuity which Wagner might have cnvied,
and which might have served suggestions Mt least
ter seine CT the Sicgtricd music. Other dramatic
devices used with similar intelligence and clear
ness OF purpose. Thus Kneas" and his captains
enter the drama strangers to Dido" and her suit
jects "a little doubtful OF the reception in store Tor
them and spent with the hardshps OF their voyage
Tor the dramatic mood thus condit oned Ber!ioz finds
expressive language i'll Trojan march, which while
we know that it mad triumphant breadth and energy
in previous opera [" La Prise de Iroie , appears
here in u subdued and chastcned larb, its principal
subject given out indeed by the trunpets, but in IA
minor key This march, restored To its brilliant major
bursts forth in all its power and yigor when finally
the Troans set sail, and as empnatcaly as Gao Il
pronounces its Deenda est Carthago :" when BerlIoz
places 1t the instrumental accompaniment to u
cnotus of threats a" Hatred eternal the race CT
Ancas!" which the Carthagenians hurl after the
Trojan ships after Didos" suicide Now these may
be obvious but they are nevertheless excellent
dramatic devices and ought to be the
IL Is true, however. that Ill the first part there
good deal of music that sounds as il written tor an
oratoro rather than opera his tact contributed
not Internationally to the success attained by the work
as reshaped
Praise need not be stinted speaking of La. nights
performance The conditions not the favor
able that could DO imag ned, the number OF the
and instrumental force employed being great
make xtcns0noi the stageno the already
too small hail. and II being exceedingly dihcut in
sequence to MAINTAIN an equilibrium between the two
divisions but Mr.. IAN der Stucken had prepared the
work with groat and with evident appreciation
of ITS merits and the singers into whose hands he had
committed the solo parts all entered into the spirit of
the WORK and achcy ed n splendid result. This ia
especially true OF Mrs. Gramm and Mr. Alvary who
sang respectively the music allotted to " Dido and
" Hneas,h with voices nicely matched in quality and
mower The parts taken by MISS Marie GIoebl Miss
Fannie Hirsch, William Dennson, +. Remmertz and
G.. Preln were comparatively SMALL but each one OF
these excellent singers contributed q factor that
entered significantly into the sum of final success
In the arrangement OF the work for production ut
this concert an interesting experiment attempted.
Prominent among the interpreters placed u mar
rator who in imitation OF the rhapsodes who GEN.
turtles wont to rece the same pathetic story
for the ed6caon OF the rich and powerful, connected
the various scenes with metrical narrative. This
duty was admirably performed by MIR. Charles
Roberts, who by dint OF excellent elOcution managed
to give his part real dignity and make 1t an efficient
element in thu performance IL is pity that the ter
riblo storm which ragged during the day aud evening